Authorship in Film Adaptation /

Authorship in Film Adaptation / / ed. by Jack Boozer.

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Authoring a film adaptation of a literary source not only requires a media conversion but also a transformation as a result of the differing dramatic demands of cinema. The most critical central step in this transformation of a literary source to the screen is the writing of the screenplay. The scre...

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Bibliographic Details
Superior document:Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013
MitwirkendeR:
Acevedo-Muñoz, Ernesto R.,
Bell-Metereau, Rebecca,
Berrettini, Mark L.,
Boozer, Jack,
Cobb, Shelley,
LaValley, Albert J.,
Leitch, Thomas,
Lucia, Cynthia,
Palmer, R. Barton,
Roth, Elaine,
Tomasulo, Frank P.,
HerausgeberIn:
Boozer, Jack,
Place / Publishing House:Austin : : University of Texas Press, , [2021]
©2008
Year of Publication:2021
Language:English
Online Access:
Physical Description:1 online resource (353 p.)
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Table of Contents:
  • Frontmatter
  • CONTENTS
  • ACKNOWLEDGMENTS
  • INTRODUCTION: THE SCREENPLAY AND AUTHORSHIP IN ADAPTATION
  • PART I HOLLYWOOD’S “ACTIVIST” PRODUCERS AND MAJOR AUTEURS DRIVE THE SCRIPT
  • 1 MILDRED PIERCE A Troublesome Property to Script
  • 2 HITCHCOCK AND HIS WRITERS Authorship and Authority in Adaptation
  • 3 FROM TRAUMNOVELLE (1927) TO SCRIPT TO SCREEN— EYES WIDE SHUT (1999)
  • PART II SCREENPLAY ADAPTED AND DIRECTED BY
  • 4 PRIVATE KNOWLEDGE, PUBLIC SPACE Investigation and Navigation in Devil in a Blue Dress
  • 5 “STRANGE AND NEW . . .” Subjectivity and the Ineffable in The Sweet Hereafter
  • PART III WRITER AND DIRECTOR COLLABORATIONS: ADDRESSING GENRE, HISTORY, AND REMAKES
  • 6 ADAPTATION AS ADAPTATION From Susan Orlean’s The Orchid Thief to Charlie (and “Donald”) Kaufman’s Screenplay to Spike Jonze’s Film
  • 7 FROM OBTRUSIVE NARRATION TO CROSSCUTTING Adapting the Doubleness of John Fowles’s Th e French Lieutenant’s Woman
  • 8 THE THREE FACES OF LOLITA, OR HOW I LEARNED TO STOP WORRYING AND LOVE THE ADAPTATION
  • PART IV VARIATIONS IN SCREENWRITER AND DIRECTOR COLLABORATIONS
  • 10 ADAPTING NICK HORNBY’S HIGH FIDELITY Process and Sexual Politics
  • 11 ADAPTABLE BRIDGET Generic Intertextuality and Postfeminism in Bridget Jones’s Diary
  • 12 “WHO’S YOUR FAVORITE INDIAN?” Th e Politics of Representation in Sherman Alexie’s Short Stories and Screenplay
  • NOTES ON CONTRIBUTORS
  • NAME AND TITLE INDEX

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